1 .(A >| V1AM*
The Original Holland Enamel Paint
THE RIPOLIN COMPANY'
PARIS l< )N WMIKDW1 \I)
KK Wi HOI I \M) I \
THE ORIGINAL HOLLAND ENAMEL PAINT
Ash, Oak, Walnut 6
Bass Wood 5
Bath Room Walls 7
Bath Tubs, Copper, Zinc, Galvanized Iron 10
Boats' Hulls, etc 9
Brick Walls 8
Cedar, Cypress, Hemlock 5
Cement, Portland or Concrete 8
Cracks, Mixture for Filling , 8
Exterior Iron , 9
Exterior Surfaces, General 9
Flat Enameling 4
Furniture Enameling, Wood 10
Furniture Enameling, Iron 10
Galvanized Iron ' 9
General Instructions 3.4
Georgia Pine, Yellow Pine, etc. \ 5
Hemlock, Cedar, Cypress, etc \ 5
Imitation Tile on Keen's Cement, etc \ 7
Interior Woodwork :
Whitewood, White Pine, Bass Wood, etc 5
Cedar, Cypress, Hemlock, etc ] 5
Yellow Pine, Georgia Pine • 5
Oak, Ash, Walnut, etc .*."." 6
Interior Brick Work 8
Interior Iron \ 9
Iron Furniture 10
Iron Work ' 9
Keen's Cement, King's Windsor, etc 7
Mat or Flat Effects .*."."." 3-4
Metal Ceilings, Walls, etc ' g
New Plaster Walls, etc 7
Oak, Ash, Walnut " g
Outside Surfaces ' 9
Plaster Walls, unpainted \ 7
Plaster Walls, previously painted ' ] 6
Portland Cement, or Concrete . ...*."" 8
Rubbed Effect or Semi-gloss ! ! . ! 3-4
Semi-gloss ....!!!!. 3-4
Tile Effects on Cement or Plaster 7
Unpainted Plaster Walls . . . 7
Varnished Surfaces 6
Walls previously painted ] . . . 6
Walnut, Oak, Ash, etc . . . 6
Whitewood, White Pine, etc 5
Woodwork previously painted ...... 6
Woodwork previously varnished .... " 6
Yachts' Hulls, etc. " '.'.'.'.'.'.'.'.'. 9
Yellow Pine, Georgia Pine, etc .5
Zinc \ \ 9
Ripolin is furnished in High Gloss, Semi-Gloss (Eggshell) and Dead Flat White.
Any finish desired between the High Gloss and Dead Flat can be obtained by mixing
in varying proportions.
To obtain any of the lighter shades White Ripolin may be tinted by the use of
pure color ground in Japan, thinning down the color with a small quantity of tur-
pentine and adding slowly to the enamel until the desired color is obtained. We do
not, of course, recommend the addition of a large amount of coloring matter to ob-
tain any of the darker shades, but will supply various darker shades on order. The
Architectural Tints now carried in regular stock are listed on page 4.
Where Ripolin is to be used in colors of any depth, the under-coats should be
tinted a shade similar to the final coat.
To obtain the best results with Ripolin Enamel, the under-coats should be thor-
oughly rubbed with 00 sandpaper, or with fine steel wool and all prominent brush-
marks removed so that a perfectly smooth surface is prepared before the application
of the enamel. Ripolin of itself will show a perfectly smooth, even surface with-
out brush-marks, but will not cover irregularities in the under-coating, and for this
reason great care should be exercised to keep the working pots, brushes and surface
to be worked upon free from dust, grit, or other foreign matter. Cans of Ripolin
Enamel when not in use should be kept tightly covered. For extremely fine work
where the extra expense may be allowed, after rubbing the last under-coat with steel
wool or sandpaper it should be further lightly rubbed with pumice and water. Also,
where there are two coats of enamel to be applied the first coat of enamel should be
rubbed with pumice rather than with sandpaper or steel wool.
Do not thin Ripolin, but use it as it comes from the can. In cold weather means
should be taken to heat the room, or if this is impossible the Ripolin can be warmed
by standing the can in a pail of hot water. The best work can be done where the
room temperature is not less than 75°. Enamel paint when chilled becomes thicker
and is harder to apply, but when warm flows out more easily and covers a greater
surface than when cold. The use of thinners or the promiscuous use of turpentine
should be avoided. If it is absolutely essential to use turpentine, expose it a half
hour before use in an open vessel to allow the most active of the gases to be evap-
orated and thin only sparingly.
In the use of two coats of Ripolin it is allowable to add a small proportion of
turpentine to the first coat.
Semi-Gloss Ripolin makes an ideal next to the final coat, — that is, whatever the
degree of gloss the final coat is to be it will be a more perfect coat if applied over
In past years the recommendation has always been made that the under-coats
for any enamel be flat coats, — that is, with a decreasing amount of oil from the first
to the last under-coat. The present tendency is to replace this oil in part, or in
whole, with enamel, — and Ripolin Enamel used in place of oil in under-coats will
help the working quality as well as the wearing quality of the paint ; will be a sealer,
and will eliminate to a great extent the tendency of the under-coats to discolor the
enamel through the chemical action of the atmosphere on the surface and the oils
on the under side of the enamel finish.
Over-emphasis cannot be laid on the importance of the under-coats, and master
painters affirm that the priming coat is the most important coat on almost any paint
work. Not only the perfect laying of the coats but the perfect rubbing down be-
tween is important. Naturally, the more under-coats, with careful rubbing, the
greater perfection of result, and on some extra fine work the number of coats is
raised from six, which we specify, to even eight or nine, — care being taken that in
any instance the last two coats are Ripolin.
Different degrees of lustre may be obtained by the use of Semi-Gloss Ripolin, —
or Gloss and Flat in different proportions. Semi-Gloss Ripolin as furnished in the
can is mixed three parts of Flat to one part of Gloss. To obtain a Semi-Gloss or
THE ORIGINAL HOLLAND ENAMEL PAINT
GENERAL INSTRUCTIONS— continued.
other low lustre finish, specify Ripolin in the Semi-Gloss as it comes from the can
or Ripolin in the proportion you may wish of Flat and Gloss, — the under-coats to be
as advised for a high lustre.
To obtain Dead Flat or "Matte" effect the surface should be prepared as for
any other degree of lustre, — then apply two coats of Flat Ripolin as it comes from the
NOTE : — The first coat of Flat Ripolin may be considered a ground coat and
should be applied in the same manner as applying ordinary oil paint. The second,
or finish-coat flattens upon the first and must be applied with a full, flowing coat,
spreading same nearly as quickly as flat varnishing, and leaving it to settle down.
The work must be cut up sharp and clean as in ordinary flatting, as a touch on the
set surface will show glossy. Flat Ripolin should not be worked too long for this
reason. Ripolin can ordinarily be stippled where desired or is found necessary, but
under ordinary conditions results may be obtained without.
It is usually unnecessary to rub Ripolin, as the desired lustre may be obtained
by using Ripolin in the degree of gloss desired. Thus a heavy item of expense may
be saved. In case rubbing is desired, it is preferable to recommend that Semi-Gloss
Ripolin be used, as this degree of finish will require less labor and possesses more
depth of body than the High Gloss, on account of the additional amount of pigment.
No attempt should be made to rub within 72 hours, and if a longer time can be allowed
the ultimate results will compensate for the delay. One of the most artistic effects
obtainable is produced by rubbing Flat Ripolin with pumice and water, thus the high
lights are emphasized due to the greater amount of pressure on the more exposed
surfaces, while the shadows are not brought up to so great an extent as would be
with Gloss, thereby producing what is often termed "an architectural finish."
Ordinary cleaning of a Ripolin surface may be done with warm water and soap.
It is often, however, preferable to clean in some other way than with soap because
of the danger of the film of soap being left on the surface to yellow and collect dirt.
A satisfactory method is to clean with French Whiting. Moisten a piece of cheese-
cloth and dip it into a small container of Whiting. If this is applied to the enamel
finish it will thoroughly cleanse and yet will leave no film of grease and will require
no cleaning off except possibly wiping down after a short time with a clean piece of
COLORS CARRIED IN STOCK IN THIS COUNTRY.
No. 1 (Gloss White), No. 101 Semi-Gloss White (Eggshell), No. 501 (Flat White).
No. 53 Ivory, No. 5 Black, No. 2 Cream, No. 47 Light Grav, No. 18 Light Blue, No 44
Sea Green, No. 10 Pearl Gray, No. 65 Pink. All tints are regularlv carried in the
Gloss, Ivory and Light Gray also in the Semi-Gloss. Special qualities and colors of
Ripolin can be furnished for use under exceptional circumstances.
The best result to the client is obtained by following our specifications accur-
ately. In case conditions differ from any specifications found in this book we should
be pleased to supply special specifications in answer to any request.
A strict interpretation of the specifications with no substitution allowed will
produce results not only of exceptional beauty when first put on, but of greater
wearing quality than if any substitute be used.
. The wide range of uses to which Ripolin may be put is not generallv appreciated.
It is most commonly used in High Gloss for bath-room and kitchen walls The per-
fection of this result for these purposes can be equaled with Flat or Semi-Gloss Ripo-
lin for other interiors High Gloss Ripolin is particularly valuable as a finish for the
*""? specially of porch rails and pillars of a seashore residence, as it is not powdered
°u I tf a aiF * ^P HV S ec l uall >* satisfactory for other extreme conditions,
whether it be your automobile or boat, or whether for a fine up-to-date dairv
European architects have tested Ripolin for all sorts of purposes for a period of
30 years and have proven its superiority. American architects have seen it in
use over there and are learning its value for conditions in this country
CIF1CAI | 1
AU .RA1NLD INTERIOR NEW V. jRK
I v 4 M, to
•if pur« turp#ntin# to th# f *Jlon.
6 THE ORIGINAL HOLLAND ENAMEL PAINT
SPECIFICATION NO. 3.
INTERIOR NEW WOODWORK— continued.
(Oak, Ash and other open grained woods.)
A coat of Adelite Paste Wood Filler should be well rubbed into the surface.
After this is dry and hard sandpaper the work thoroughly.
Coat No. 1. — A priming coat of Ripolin Enamel Under-coating, thinned with 1 pint
of raw linseed oil and 1 pint of pure spirits of turpentine to the gallon.
Coat No. 2. — Full coat of Ripolin Enamel Under-coating.
Coat No. 3. — Full coat of Ripolin Enamel Under-coating.
Coat No. 4. — Ripolin Enamel Under-coating re-enforced with 1 quart Gloss Ripolin
added to the gallon to stop suction.
Coat No. 5. — A good flowing coat of Ripolin. It is allowable to thin this coat with
y% pint of pure turpentine to the gallon.
Coat No. 6. — A good flowing coat of Ripolin as it comes from the can. Do not thin
finishing coat of Ripolin.
N. B. — If expense is of prime importance, either coat No. 3 or coat No. 5 (only
one) may be omitted.
SPECIFICATION NO. 4.
OLD WOODWORK PREVIOUSLY VARNISHED OR FINISHED
If the old varnish is checked, disintegrated or alligatored, it must be thoroughly
removed with a first-class remover such as Adelite or by completely sandpapering.
If, however, the varnish is in good condition it may be rubbed down and thoroughly
cleansed to remove all foreign matter which might prevent perfect bonding to the
varnish surface. Great care must be taken that sandpaper dust is removed.
Coat No. 1. — Ripolin Enamel Under-coating re-enforced with one pint of Gloss
Ripolin to the gallon.
Coat No. 2. — Same as Coat No. 1.
Coat No. 3. — A flowing coat of Ripolin which may be thinned by adding 1/2 P^t
pure spirits of turpentine to the gallon.
Coat No. 4. — A flowing coat of Ripolin as it comes from the can. Do not thin this
finishing coat of Ripolin.
SPECIFICATION NO. 5.
PLASTER WALLS OR WOODWORK PREVIOUSLY PAINTED.
Old paint should be thoroughly cleaned and if white it should be washed down
with strong soda and warm water, all traces of soda to be removed by thorough wash-
ing, or it should be cleaned with French whiting as mentioned in the general speci-
Coat No. 1.— Ripolin Enamel Under-coating re-enforced with one pint of Gloss
Ripolin to the gallon.
Coat No. 2. — A good flowing coat of Ripolin as taken from the can.
NOTE:— If the old paint is white and in good condition it may be possible to
apply the Ripolin direct without Coat No. 1, and if colored Ripolin is used it would
not be necessary to use Coat No. 1 unless your paint is darker in tone than the Ripolin
color to be used. If old paint is in bad condition two coats the same as Coat No. 1
should be used, with one coat of Ripolin as a finish.
CIF1CA1 ). 6.
NEW OR I iED PLASTER W AL
IMIl MM )$OH OH
KtmtmiMi tk«t " f H> W«M ••! # » » !• ■ < W««k l
THE ORIGINAL HOLLAND ENAMEL PAINT
SPECIFICATION NO. 8.
MIXTURES FOR FILLING CRACKS IN CHIPPED CEILINGS, WALLS
Authorities disagree as to the best crack filling mixture. Either of the follow-
ing would doubtless be satisfactory. Take whiting or plaster of Paris in the follow-
ing proportions. One quarter of plaster of Paris and three quarters of whiting by
weight. Mix these to an easily working consistency by slowly adding varnish (any
kind or grade of varnish will do). If this mixture sets too quickly the proportion of
plaster of Paris is too large.
Second formula is to take three pounds of whiting, adding to this a half pint of
liquid glue, which is usually in the proportion of two ounces of glue thinned to a half
pint with water. Add enough more water to make this into a very thick paste, then
add about a gill of varnish. Work this up thoroughly and stiffen it to a good putty
consistency by the addition of plaster of Paris.
SPECIFICATION NO. 9.
CONCRETE OR PORTLAND CEMENT.
Owing to the excess of free alkali and occasionally certain chemical conditions
created by the process of manufacture of Portland Cement or concrete under various
formulae difficulty has been experienced in obtaining paints to adhere firmly to these
surfaces. The concrete or cement must be thoroughly dry. All new concrete should
be washed with a 30 c /c zinc sulphate solution.
Coat No. 1. — Stucolor Cement Coating which may be thinned with about a quart
of turpentine to the gallon.
Coat No. 2. — The same approved Cement Coating as it comes from the can.
Coat No. 3. — A good full coat of Ripolin of the lustre desired as taken from the can.
N. B. — On a very rough laid cement an extra coat may be required to thoroughly
cover the color of the surface, this being Ripolin Enamel Under-coating. For much
exposed surfaces it is well to add one more coat of Ripolin as it comes from the can
In case two coats of enamel seem necessary it is well to make the first coat Semi-
Gloss Ripolin, the finish coat to be of the lustre desired.
SPECIFICATION NO. 10.
INTERIOR BRICK WORK.
On account of the tendency of brick surfaces, particularly new ones, to "salt," it
is advisable to treat brick in exactly the same way as concrete. See Specification
SPECIFICATION NO. 11.
METAL CEILINGS AND WALLS.
Coat No. 1. — Ripolin Enamel Under-coating thinned with one pint of turpentine to
Coat No. 2.— Ripolin Enamel Under-coating which has been re-enforced with one
quart of Ripolin to the gallon.
Coat No. 3. — Ripolin as it comes from the can in the degree of luster required.
In all specifications the proportion of pigment and vehicle should be such as to
make the paint of good working consistency.
SPECIFICATION NO. 12.
GALVANIZED IRON INTERIOR OR EXTERIOR.
Priming coats of lead should never be used on galvanized iron under Ripolin.
Wash surface with 10% solution of acetic acid, all trace of acid should be re-
moved before painting.
Coat No. 1. — Add one quart of turpentine to a gallon of Gloss Ripolin. Apply a thin
coat and well brushed out. Allow this to dry at least twenty-four
Coat No. 2. — Semi-Gloss Ripolin as it comes from the can.
Coat No. 3. — A full coat of Ripolin of the lustre desired, as it comes from the can.
For all exterior work the final coat should always be Gloss Ripolin as it is more
weather resistant than the lesser degrees of gloss.
SPECIFICATION NO. 13.
EXTERIOR OR INTERIOR IRON WORK.
See that the surface of the iron is thoroughly clean and free from rust, grease
Coat No. 1. — Gloss Rrpolin thinned with three pints of turpentine to the gallon.
This is used in this way to bond perfectly to the metal.
Coat No. 2. — Semi-Gloss Ripolin as it comes from the can.
Coat No. 3. — Good full coat of Ripolin of the lustre desired as taken from the can.
SPECIFICATION NO. 14.
Thoroughly clean the surface with benzine or turpentine as any trace of oil will
prevent the Ripolin from adhering to the zinc. Then use the same coats as for gal-
vanized iron. See Specification No. 12.
SPECIFICATION NO. 15.
First thoroughly scour the copper with Sapolio and then wash off with hot water
to remove all grease or foreign matter. The Sapolio will also cause a slight roughen-
ing of the copper, which though unseen will greatly assist the Ripolin coat to adhere
to the copper. Before applying any enamel be sure that the Sapolio is thoroughly
washed oft the copper.
Coat No. 1. — Apply a thin coat of Gloss Ripolin to which turpentine has been added
in the proportion of three pints of turpentine to the gallon. This
thin coat will dry quicker and adhere better to the copper.
Coat No. 2. — Semi-Gloss Ripolin as taken from the can. This should be spread
with a good, stocky varnish brush and flowed on evenly.
Coat No. 3. — After Coat No. 2 has stood until well set, apply another good flowing
coat of Ripolin as taken from the can.
If the above does not give a sufficiently dense body, another coat may be applied.
SPECIFICATION NO. 16.
YACHTS OR BOATS' HULLS.
Should be treated according to the material of which the hull is made. See
specifications for wood, copper, etc.
Remember that Ripolin will not overcome brush marks remaining in the under-coats. There-
fore it is imperative for good work that the under-coats shall be sanded until smooth before Ripolin
10 THE ORIGINAL HOLLAND ENAMEL PAINT
SPECIFICATION NO. 17.
WOOD EXTERIOR SURFACES.
FOR OLD WORK.
On old work remove all loose or scaly paint and wash thoroughly to remove dirt.
Touch up all bare spots with Coat No. 1 as below, using one quart of linseed oil to the
gallon. Apply one or two coats of full Gloss Ripolin.
FOR NEW WORK.
Coat No. 1. — A priming coat of Ripolin Enamel Under-coating thinned with one
quart raw linseed oil and a pint pure turpentine to the gallon.
Coat No. 2. — A full coat of Ripolin Enamel Under-coating.
Coat No. 3 — Ripolin Under-coating re-enforced with one quart Gloss Ripolin to the
Coat No. 4. — A good full coat of Gloss Ripolin as it comes from the can.
SPECIFICATION NO. 18.
Foil' on No. 15 on pa
Zinc or Tin.
Follow specification for zinc No. 1 1 on page 9.
Moss Ripolin should always be u purpose.
NOTE: — To insure the best results four days should be allowed betw<
coat, and each should be absolutely dry before applying succeeding coats.
previously painl scaly places should bo removed
ring. The tub must bo thoroughly scoured with benzine or strong BOlu-
ofsodaai I remove all ti. oap and grease, as any traa
e the paint to peel. The soda must all be washed oil.
er the fii tub with cold water ono
<hl flOt hi U$( <i hi f ,1-t ( ,( <■■
SPECIFICATION NO. 19.
SPECIFICATION NO. 20.
IRON FURNITURE PREVIOUSLY PAINTED OR ENAMELED.
re foundation to
. i should be evened
| liltle N
Remember that Ripolin will not overcome brush marks remaining in the under-coati. I
fore it i» imperative for good work that the under-coats shall be aanded until sri ;>olin
RIPOLIN SPECIFICATIONS 11
It is impossible to overestimate the importance of proper application. The care-
ful application and treatment of the under-coats is absolutely essential to obtain any
fine enamel job.
Please be reminded once more that:
"A" — The greater the number of under-coats, the better the job.
U B" — Perfection of surface can be obtained only by perfection of under-coats.
Therefore, each coat should be lightly rubbed with fine sandpaper or steel
"C" — Ripolin is a true enamel and spreads farther and makes a more perfect surface
when used in a warm temperature.
"D" — The use of Ripolin in the top under-coat seals the surface, prevents suction
and gives the enamel coats an opportunity to stand out as they should.
"E" — Many jobs of painting are not given a fair chance as they are rushed too much.
If any coat is not thoroughly dry when the succeeding coat is applied, it gives
opportunity for the fresh coat to flat down and as it is likely to be unevenly
dried, the last coat will be flatted unevenly.
«F" — Copies of these specifications will gladly be supplied to any architect or con-
On page four we list the various Tints in which Ripolin can be supplied. Color
Cards will be sent on application.
There are more Tints in this list than with other enamels. They are exceed-
ingly attractive, either for use singly, or in combination.
White with various Tints, or such attractive combinations as Ivory and Light
Gray, give particularly pleasing decorative effects.
A selection of Tints from the card insures your clients obtaining exactly the
combination they choose and does away with possibility of error in tinting.
The Greater Glidden Organization
The Glidden Company, Cleveland
The Adams and Elting Co., Chicago
The Nubian Paint and Varnish Co.,
Twin City Varnish Co., St. Paul,
The Forest City Paint and Varnish
The Glidden Co., Ltd., Toronto,
The Glidden Company of Massa-
The Heath and Milligan Co.,
The Campbell Paint and Varnish
Co., St. Louis
A. Wilhelm Co., Reading, Pa.
T. L. Blood & Co., St. Paul, Minn.
The American Paint Works,
The Glidden Co. of California,
The Glidden Company of Texas,